The Australian National Tartan was designed by Betty J Johnston and registered with the Tartan Register in 2003 (no.2742). Its colours portray Australia as a nation. It was produced in Scotland from Australian wool. See attached media.W7213 An information card about the Australian National Tartan from The House of Tartans. Online entry for Australian National Tartan registration no.2742. Accessed 11/09/2009.textile, the house of tartans, tartan, samples, canberra, australian capital territory

Jane McGrath made this quilt 30 years ago from a tartan fabric sample book (c.1990). It was one of her first quilts. Jane was inspired to quilt by her mother Shirley Critchley. Jane recalls her mother being a very talented quilter, with one example being the “Unpicked Jumper Wagga” which can be found within the National Wool Museum’s Collection (REG 8283). Shirley taught Jane the basics in quilting and assisted her in preparing this quilt. The quilt is backed with material from disused woollen skirts. Jane could not recall what material was used for the internal insulating fabric. Jane donated the Tartan Fabric Sample Quilt to the National Wool Museum in 2021. The quilt had been languishing in her cupboard for many years and had found its way to the op-shop pile, as her children had no desire to inherit her quilts. The top layer of the quilt consists of five distinct rows of tartan samples appliqued together. The rows of tartan samples are broken with a boarder of white, grey, and brown fabric which runs in parallel lines. This fabric is also used to bind the quilt together at the edges. The internal insulating fabric of the quilt is not known. The backing fabric is a grey coloured wool originating from disused skirts. The Tartan samples contain stripes of varying width and colour. The samples have been arranged so that the stripes run diagonal on the quilt. Many different colours have been used. The predominant colours are red and black, with lessening amounts of blue, yellow, white, green, and grey featuring. quilts, tartan fabric samples, upcycle, shirley critchley/jane mcgrath collection

This is a sample of the material used for the kilts of the members of the Warrnambool and District Pipes and Drums. It was provided by Fletcher Jones and Staff Factory in Warrnambool. Warrnambool and District Pipes and Drums was originally founded as the Warrnambool Pipe Band in 1906 with the objective of popularizing Scottish music. Later this objective was altered to include the fostering of bagpipe music. The band’s tartan was firstly the Gordon tartan then the Cameron of Erracht tartan and today it is the Anderson tartan. Since its formation the group has won many State Titles and has performed well also at national competitions including winning the Grade 2 Australian Championship in 1992. This material is of interest as a sample of the material used for the kilts of the members of the Warrnambool and District Pipes and Drums, an important and long-established band in Warrnambool.This is a sample piece of tartan cloth of the Anderson Clan. The material was provided by the Fletcher Jones and Staff Factory in Warrnambool and used to make the kilts for the members of the Warrnambool and District Pipes and Drums. The pattern is in squares of blue, red, black, yellow, green and white. The sample has frayed edges.warrnambool and district pipes and drums, history of warrnambool, fletcher jones, tartan

This child's crinoline skirt was donated in 1974 by Mrs Ella Kohn of Were Street, a life member of the Society. According to then-BHS Secretary Rosalind Landells, the skirt was originally made the fit a girl aged 10-12, but had been modified to add length. Mrs Landells reported that Society members had restored the skirt to the original length and that it would be worn at a costume parade at the Southern Cross on 27 March 1974 by Carolyn Scott.Pale yellow silk half-hoop skirt with cotton lining. Layered skirt with ruched top layer.children's clothing, crinoline, 1850s, 1860s, ella kohn

Blue cotton circular skirt with white cord design of men and women dancing around the hem. Fastens with a metal sip in left proper side seam.Label, printed red on cream cotton, centre back: Milton Harding / MELBOURNE / GUARANTEED TAILORED / & HAND FINISHED (image of skirt)skirt, 1950s, milton harding

Margaret Bennett was a student at Ballarat Teachers' College in 1949. She attended the Ballarat School of Mines as a full-time day student for three years, gaining her Diploma of Art in 1972. She was Drum Major of the Ballarat Ladies' Pipe Band from c1954-1955. She was also the set and costume designer for Junior Light Opera Company. A handmade tie in Mackenzie Tartan. Gift of Margaret Bennett, 2019margaret bennett, ballarat ladies' pipe band, alumni, highland pipe band, tie, mackenzie tartan, tartan, wool

Historic black and white post cards of Stirling, Scotland.Old historical photographs of Stirling, Scotland12 Postcards of Stirling, Scotland in a booklet format. Contained in a cardboard cover with tartan coloration.Title of the booklet - " 12 Post Cards of Stirling"stirling, scotland

Margaret Bennett was a student at Ballarat Teachers' College in 1949. She attended the Ballarat School of Mines as a full-time day student for three years, gaining her Diploma of Art in 1972. She was Drum Major of the Ballarat Ladies' Pipe Band from c1954-1955. She was also the set and costume designer for Junior Light Opera Company. A handmade Mackenzie Tartan Scarf, with a red, white, green and dark blue pattern and fringed endsCity of Ballaarat Pipe Band, Life Member on the front Inscribed on the back is Drum Major Margaret Bennettmargaret bennett, ballarat ladies' pipe band, alumni, highland pipe band, margaret reynolds, tartan, scarf, mackenzie tartan

This skirt belonged to Olga Black, a long-time Brighton resident. The linen used for the skirt were woven by Olga's great-grandmother Efstathia in the late-nineteenth century with flax grown on the island of Ithaca. In the 1950s, Olga made the fabric into a skirt, embellishing it with hand embroidery. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Ankle-length full cream linen skirt with multi-coloured cross stitch embroidery featuring mountains, birds and trees. Fullness is pleated into wide waist band. Left side opening. The fabric widths have been whipped together by hand probably at the time the cloth was woven in the late-nineteenth century. The skirt is machine stitched.skirt, linen, hand woven, embroidery, ithaca, migration, greek diaspora, olga black

Khaki skirt from a Maori Service Uniform.White cloth tag on inside Emerco Brand C. Henshaw No..3275 30/8/1990

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretchGreen knee length skirt with button and zip back. Has two pockets, and two darts in both front and back.Label 1 - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia 141992 barcelona olympics, australian wool corporation, wool, olympic games official occasions

The Malborough Classic label was a house label of David Jones Department Store.Pink floral patterned quilted polished cotton circular skirt with two patch pockets. Label, woven grey and yellow on white acetate, centre back: A Malborough Classicskirt, 1950s, marlborough classic, david jones

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Of all the items Di donated to the Society, this four-piece Easton Pearson outfit was her favourite. When she bought it around 1997-98, it was the first time she had spent a large amount of money on clothing, and she thought it only fitting to throw a suitably elegant party at which to wear it. James Cameron's hit movie 'Titanic' had just been released, and upon discovering the recipe book 'Last Dinner On the Titanic: Menus and Recipes from the Great Liner', Di was inspired to host a Titanic-themed party for her friends. Held at her home in Brighton in 1998, the event included a string quartet, an eleven-course meal prepared entirely by Di, and a life boat in the backyard swimming pool.A four piece outfit consisting of a blouse/cardigan, camisole, skirt and wrap. Double-layered silk wrap with an outer layer of silk chiffon. Both ends feature and embroidered band of brown and black cotton, copper wire, and copper glass beads. Camisole of black and copper shot polyester rayon with wide shoulder straps and small shoulder pads. Blouse of brown silk chiffon, with a v-neck and eleven silk-covered buttons and loops at centre front. Patch pockets over front hip and full length sleeves. The neckline and sleeve edges are trimmed with copper-coloured glass beads. Full-length double-layered straight skirt with black and copper shot polyester rayon lining and silk chiffon overskirt. The skirt secures centre back with a nylon zip and botton closure. The skirt features a centre front embroidered panel of brown and black cotton leaf and flower motifs, with copper wire and copper glass beads. manufacturer's label: "Oh! Easton Pearson", "Pure Silk", "Polyester Rayon", Care label, "M"costume party, titanic, easton pearson, pamela easton, lydia pearson, australian fashion, di reidie, 1990s

An excellent example of Australian ladies fashion of the time.Exceptional two piece dress with fitted and boned bodice and bustle skirt and train. Bodice features many panels and internal whaleboning with cotton lining. Waist tape to secure. Pointed waistband to the exterior, trimmed in panels of velvet and lace inserts. Pleated sleeves and high, stand up collar with white cotton insert. Row of metal hooks and eyes to secure at the centre front, covered with a row of small metal and enamel buttons with butterfly design (all present) and hand finished button holes. Another row of hooks and eyes over the top. Skirt is full with the gathers focused on the centre back with a row of cartridge pleats and metal hooks and eyes to secure at the waist. Row of cotton tape sits under the hips to be gathered into the desired fullness. Ornamental panels of velvet provide a faux wrap styling to the front. Underskirt of silk faille with a box pleated trim to the hem. Underneath is a third hem finished in a row of white cambric and lace trim. Train falls from the waist and displays the same hem treatments as the dress. The dress has been mostly machine sewn but with large amounts of hand sewn finishing.none

non-fiction...

Uniform items worn by girl students at Ballarat & Clarendon College (Years 11-12) in the 1970's. To be accompanied with fawn tights and brown lace-up shoes. The uniform was more relaxed to denote to seniority of the students. Girls were able to choose a jumper the colour of any of the lighter tones of the tartan. Box pleat, plaid skirt with fitted, adjustable, waist band, zip fastener; accompained by cream turtle neck jumperManufacturer's label sewn inside waistband: 'Flatcher Jones / 55% POLYESTER / 45% WOOL' Name tag sewn to manufacturer's label: REHFISCHuniform, ballarat-and-clarendon-college, girls-uniform, tartan-skirt, box-pleat-skirt, 1970s, winter-uniform, senior-college-uniform

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

Kilt was worn by Maude Bastion during 1970 and later by her daughter Wendy Standfield, the donor and a Society member.1970 Ladies tartan skirt designed as a kilt. Skirt wraps around and is fastened with a silver buckle and black buttons at waist. Red and green tartan.costume, female

This finely crafted skirt has been made at the Fletcher Jones clothing factory. David Fletcher Jones served in World War One and following this had an itinerant hawker's business in the Western District . In 1924 he opened a tailoring shop in Liebig Street, Warrnambool and began to specialise in the production of men's trousers. In 1946 he opened a shop in Melbourne and in 1947 the firm of Fletcher Jones and Staff Pty. Ltd. was registered. In 1948 a clothing factory was opened in Warrnambool and in the 1960s Fletcher Jones shops had extended to other states of Australia and later the merchandise was extended to men's and women's clothing. It was one of the best known businesses in Australia. The Fletcher Jones company was dissolved in 2011. This is a fine example of a Fletcher Jones item of clothing. The Fletcher Jones clothing business was one of the most important businesses ever to have been in Warrnambool and the factory gardens survive as a tourist attraction in Warrnambool.This is a reversible black, grey and white checked woollen, woman's skirt. It is fully pleated on a waist band which can be buttoned either side. There is a zip on the side next to the waist band.THE Two -Way SKIRT by FLETCHER JONES PURE NEW WOOL SIZE 14fletcher jones clothing company, warrnambool industries

This book containing tartan fabric samples belonged to the Warrnambool firm of Cramond and Dickson. It is presumed to have been brought from Scotland to Warrnambool by either John Glass Cramond or James Dickson Snr. for use in their Department Store where customers could choose which tartan they preferred. It is obvious that it has been well used as pieces have been cut from some samples. Tartan clothing has been a favourite over many years used for fashion garments and children's clothing in addition to its use in traditional Highland dress. The firm of Cramond and Dickson was established as a general store in 1855 and closed in 1974.This book is of considerable significance as it is our earliest memento ( 1850) of the prominent Warrnambool firm of Cramond and Dickson, a business that operated for 119 years.This is a hard cover book with a dark coloured leather cover with gold printing and a much damaged spine. Inside the cover is a mottled pattern. The pages contain some hand written information and swatches of tartan fabric pasted on separate pages. Some of the tartan samples have had pieces cut off. The pages have the name of the tartan and other annotations. There is one loose page.cramond and dickson warrnambool, tartan

Black velvet full length skirt and matching long sleeve topAnthea Crawford (skirt) RSVP Perri Cutten (Top)anthea crawford, perri cutten

This booklet contains records, mostly of the McLennans, perhaps more about John McLennan than others, as he seemed to be the only one who left any records of the past.yellow card with border Family Crest? with Latin Colour card showing a Tartan above black text(In Latin [ Dum Spero Spiro]) McLennan Tartan Looking Back 1964-1864 Victoria, Australa compiled and written by N.A. McLennan June 1964stawell, mclennan family

Off-white linen skirt, with three tiered ruffles at base. Hook and eye fastenings at side.Small note pinned to inside waistline '1900 --- Granny's Skirt'costume, female, skirt, linen, off-white, clothing, granny

Blue synthetic dog coat with red tartan brushed cotton lining. The words ' SEDA' and 'SEEING EYE DOGS australia' are writtin in white on both sides of the coat, with the SEDA logo located above the words. On one side, a set of four paw prints are adjacent to the writing. Velcro straps secure the coat to the dog across the stomach and chest. 1 blue and white dog coat with red tartan lining SEDA SEEING EYE DOGS australiaseeing eye dogs australia, fundraising

Blue synthetic puppy coat with red tartan brushed cotton lining. The words ' SEDA' and 'SEEING EYE DOGS australia' are writtin in white on both sides of the coat, with the SEDA logo located above the words. On one side, a set of four paw prints are adjacent to the writing. Velcro straps secure the coat to the puppy across the stomach and chest. 1 blue and white puppy coat with red tartan lining SEDA SEEING EYE DOGS australiaseeing eye dogs australia, fundraising